Tag Archives: Sarawak

Functions of the kidiu in East Malaysia

The kidiu (pictured above) is a unique aerophone in Malaysian folk music, specifically a bullroarer, which is a type of free aerophone that lacks an air column or closed air reservoir. Used by the Kenyah-Badang ethnic group in the Upper Rejang River region of Sarawak, the kidiu is typically played in small ensembles of two or three bullroarers to create melodies. The kidiu consists of a flat, oval disc made from wood or bamboo, with precise dimensions–at least ten centimeters in length, about eight to ten centimeters in width, and two to three centimeters in thickness. The disc is attached to a string, which is connected to a bamboo pole with a handle, with both the string and bamboo pole being approximately the same length.

A Kenyah dancer.

The player holds the bamboo pole by its handle and swings the kidiu disc quickly through the air, generating swirling air currents that produce distinct short notes. These notes vary based on the size of the disc and the speed at which it is swung. Typically, two or more players use differently sized kidiu discs, swinging them at specific intervals to create a range of notes, depending on the strength and direction of their swings–either forward, backward, or in a circular motion. Played in an interlocking pattern, the two or three kidiu discs produce repeating short melodic phrases as long as the players continue swinging them.

Kenyah kidiu. Image courtesy of the British Museum.

Initially, the kidiu was used in rice paddies to scare away pests like birds, mice, and insects that threatened the rice crops. Over time, however, it evolved into a musical instrument used for entertainment among the residents of the longhouse.

This according to the featured article on the music of Malaysia by Patricia Matusky in MGG Online.

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Filed under Asia, Instruments, Nature, Uncategorized, World music

The beginnings of music

The eminent British psychologist Charles Samuel Myers, CBE (1873–1946), joined an anthropological expedition to the Torres Strait and Sarawak in 1898, and his studies of musical traditions in those places resulted in several articles. Like many of his contemporaries, he suspected that the study of ethnic traditions could help to tease out universals and illuminate the origins of music.

In “The beginnings of music” (Essays and studies presented to William Ridgeway on his sixtieth birthday [Cambridge: Cambridge University Press, 1913, pp. 560–582]) Myers provides detailed descriptions of the musical traditions of the Meriam people of Murray Island, Australia, the Vedda people of Sri Lanka, and the peoples of Sarawak. The Vedda examples suggest an evolution of the scale as a synthesis of steps, the Sarawak examples suggest scalar evolution as a filling-in of larger intervals, and the Meriam examples suggest a synthesis of the two approaches.

Myers concludes that the beginnings of music depend on eight factors: (1) discrimination between tones and noises; (2) awareness of differences in pitch, volume, duration, and quality; (3) awareness of absolute pitch; (4) recognition and use of small, approximately equal intervals; (5) recognition and use of larger consonant intervals, and awareness of their relationships to smaller ones; (6) melodic phrasing; (7) rhythmic phrasing; and (8) musical meaning.

The article was reprinted in Music, words and voice: A reader, edited by Martin Clayton (Manchester: Manchester University Press, 2008, pp. 21–23). Above, the Murray Island courthouse and community hall in a photograph from the 1898 expedition that Myers joined.

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Filed under Ethnomusicology, Science